A collection of motion and 3D works made in Blender — each one an attempt to translate a feeling, a place, or a question into image. The process involves iteration, failed renders, and a lot of staring at viewport shading.
A six-room visual journey through various hyperboles of the emotions we feel in non-places. Places designed for transition — airports, corridors, waiting rooms, car parks. Places that exist to be passed through, not inhabited.
Each room corresponds to an emotional state: anticipation, suspension, deflation, eerie calm, overcrowding, and the particular loneliness of being somewhere too bright at 3am. The project takes Marc Augé's concept of the non-place seriously as an aesthetic proposition — what does it look like to live inside a transitional space rather than pass through one?
Exploring the way people and practices of various types coexist in the same ecosystem. In a module on Social Ecology, I travelled to Sargalaya, Kerala — a village of handicrafts. I interviewed artisans there and made a short experimental documentary, then used footage and field recordings as source material for the 3D work.
The result tries to hold the texture of the place: the weave of labour, trade, and attention that makes a village economy run. Blender here was used less as a modelling tool and more as a compositional one — assembling found imagery into sequence.
An animated triptych of experiences. It questions the behaviours of tourists when travelling — their psyche and the superficial nature of modern tourism. Three scenes, three archetypes, one uncomfortable mirror.
The triptych format was a deliberate choice: three parallel windows into three versions of the same bad faith. Each panel uses a different colour temperature to mark the emotional register — cold observation, warm nostalgia, harsh fluorescence.
A first-person playable game where you navigate a hellish landscape to push a boulder up a relentless slope. Built as my first foray into game development, it naturally came with technical imperfections—but these "bugs" quickly evolved into thematic features.
For instance, the boulder wasn't a perfect sphere, causing it to occasionally lodge into the slope. This slower, stable movement offered a safe alternative to the high-risk rolling mechanics. Locked in a first-person perspective with no visible finish line, the game became a metaphor for subjective struggle, where the sheer difficulty made reaching the top a profoundly hard-earned satisfaction.